i did a search on this but couldn't find anything.

what lh and 2 handed voicings do people like to use for lydian augmented chords? ie maj7#5 chords

i think i read in the levine book that its not really the done thing to put the ninth in these chords - is that true?
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is that really called lydian augmented? i thought lydian meant #4.
in all my years playing, i've never heard of a lydian augmented chord.

lydian mode; yes
augmented interval; yes
augmented chord; yes

i've never read levine's book though (it came out after i had been playing for years)  maybe it's a "levine" thing?  

i'd love to hear more (and know what it is:)
lydian augmented chord is maj7 #11 #5. it goes with the lydian augmented scale, which is the third mode of the melodic minor scale.

to voice, use the modes of that scale. like, let's say you're voicing ebm7(#11,#5). you'd use the c melodic minor scale's notes to voice that chord. say for example - eb a d g b.

same voicing as you'd use for a f7 # 11 chord. incidentally, these chords both use the same melodic minor scale!

i'm guessing you mean ascending melodic minor...in traditional silly theory, that scale descends natural minor so the chords would be different...kinda reminds me of the ole french, italian and german sixth chord stuff...it's a wonder i can play at all - heh heh

thanks for the update:)
duke pearson's "you know i care" uses abmaj7#5, which also can me notated as c/ab, on the bridge. that's the sound of lydian augmented harmony.
bud powell played abmaj7#5 in "glass enclosure". lydian augmented uses the same notes as the third mode of melodic minor.
in my experience the sharp 5th is passing tone on the major seventh chord.  so if we were to see the chord symbol maj7#5  it would be part of a cliche similar to the minor cliche: c-, c-maj7,c-7,c-6.  otherwise lydian augmented really refers to a chord scale rather than a chord, which in an intellectual rather than a practical discussion of course there is a chord.
i think the point about a lydian augmented chord is that it is a sound in its own right, not just a passing chord. as such it might be sustained for a whole bar or longer, perhaps in a modal context.

i think people use this chord/scale when they want to get an unusual or slightly 'out' sound for a major chord, usually in a fairly contemporary playing situtation. you wouldn't encounter it often when playing the traditional standard repertoir (which by the way doesn't include bud powell tunes, which were harmonically ahead of their time). and of course when the melody note is the b6 or #5.

a scale i've been playing around with that fits this chord (as an alternative to the 3rd mode of the melodic minor) is the augmented scale: minor third/half step alternating.  

for cmaj7#5 this is: c eb e g ab b c.

try it! it's a great scale when you get used to it. it automatically takes you in and out of the harmony. the scale above also works for ebmaj7#5 and abmaj7#5. plus many other chord types!...
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